ABSTRACT
A musical cartography engages both real and mental maps of sites, memories, experiences, preferences, observations, facts, fictions, feelings, and emotions. The birthplaces of legendary Cuban musicians such as Beny Mor, Company Segundo, and Chucho Valds, and the sites of their musical performances would provide further point data. In short, there is an unlimited amount of spatial data to draw from to map Havana's musical geographies. Geographers have long used mapping as a tool to reveal the geographical nature of music. This is most clearly seen in work on the diffusion of styles, the locations of music-related phenomena, such an associations, competitions, and actual musicians, and geographic attributes of hierarchies of styles and sub-styles. The idea of applying a cartographic metaphor to music may seem prob.
